The problem of relationships between generations is considered one of the eternal questions of morality. Time speeds up, people can't keep up with it. Social institutions, codes, norms preserve the traditions of the past. The trends of today, not to mention the future, turn into a storm in the musty crypt of the past.
In this article, we will try to highlight not only the relationship between generations, but also the study of this issue in the works of Russian writers.
The essence and origins of the problem
Today, in our rapidly rushing world, in the context of total intergenerational relationships, it becomes noticeably acute. It seems that children move away from their parents not one, but several steps at once.
The peculiarity of the struggle between the new and the old is that the first does not always emerge victorious from it. Adults have more leverage, confidence in their unshakable rightness, the need to be an authority and leader for the child.
In what follows, we will look at this problem from the perspective of the psychologists, as well as how it was seen by writers in the nineteenth and twentieth centuries. The material will be of particular interest to students who are preparing for exams. Often one of the topics is the following: "Problems of relationships between generations." You can easily write an essay on this assignment after reading this article.
Today, the emphasis has shifted from the experience of older generations to the achievements of peers. Practically all knowledge from parents the child receives already in the "outdated" form. Nowadays, the life of an innovation sometimes fluctuates within a few days or hours.
In adolescence, boys and girls are forced to go through a kind of initiation stage. They need to learn to control emotions, become reasonable and wise. It's called "growing up". The difficulty is that with the acceleration of the pace of life, parents themselves often have not yet fully formed into a holistic mature personality. Or their image is suitable only for the heroes of the novel of the nineteenth century.
The problem is that often parents cannot even tell their offspring what to do in this or that situation. After all, they never spent their youth in the conditions of the present. What was previously considered revolutionary, today young people refer to the Stone Age.
Let's look at the issue of disagreements between parents and children. How do psychologists and writers see it?
What psychologists say
If the task concerns the problem of relationships between generations, the essay can begin with the opinion of experts on this topic.
Now we will talk about some of the studies carried out by scientists to study the psychology of the adult generation. They believe that the main problem lies in the inability of the elders to understand their failure in matters of education.
It turns out that self-satisfaction and the belief that past life experience is the standard against which to measure the "correctness" of the child, serves as the foundation for contention. It turns out that adults speak one language, and children speak a completely different one.
Moreover, from the point of view of psychologists, the problem of relationships between generations often comes from the parents. The most common complaint from children: "They don't want to hear me."
Experiments were carried out to confirm this hypothesis. We present a description and results of one of them.
The school asked tenth grade students to rate themselves on a five-point scale. It was necessary to measure internal qualities, such as kindness, sociability, initiative and others. The second task was to determine how these same qualities would be assessed by their parents. The older generation was asked to evaluate their children, and then predict their self-esteem.
As a result, it turned out that children accurately imagine what their parents think of them, and fathers and mothers, in turn, know absolutely nothing about their offspring.
The rest of the studies have proved, in addition to this point, a number of difficulties in the relationship between children and adults. So, it was revealed that the child is more frank with the mother than with the father. The second unpleasant moment is that many things that interest a teenager are not customary to discuss in our society.
Themes of feelings, openness, sexual life put an insurmountable barrier between generations in the family. This turn of events leads to formal communication and routinization of relationships.
Turgenev, "Fathers and Sons"
According to many critics, the problem of intergenerational relationships is most fully covered in the novel "Fathers and Sons". In principle, here it is given the most attention, but you will soon see that there are other works that touch on this issue.
Ivan Sergeevich in his novel shows not just the confrontation between father and son in a single family. The problem of intergenerational relationships is depicted here, since Kirsanov and Bazarov are not relatives.
The first is young, nihilist, democrat and revolutionary. Pavel Petrovich is shown as a monarchist and an aristocrat to the marrow of his bones. The clash of their worldviews is the basis of the plot.
We see that Yevgeny Bazarov is inclined to deny everything, putting science above all other values. The image of the landscape of Switzerland, for example, is interesting to him only from a geological point of view. He is pragmatic, trying to prove the advantage of new views. However, at the end, Eugene dies with the thought that Russia did not accept him.
Bazarov's antagonist is Kirsanov. He likes to talk about the "Russian idea", the simplicity of a peasant's life. But in fact, all his words turn out to be an illusion. He is inclined to only talk about it, but by his actions he shows the opposite.
Like many other writers of the nineteenth century, Ivan Sergeevich Turgenev is on the side of the younger generation. He shows through the prism of the novel the agony of the old worldview and the birth in the throes of a new philosophy of society.
Tolstoy, "War and Peace"
Next, we will consider the problem of intergenerational relationships in the novel "War and Peace". Here Tolstoy, being a fine connoisseur of human souls and motives of behavior, shows three different families. They have different social status, values and traditions. On the example of the Bolkonskys, Kuragins and Rostovs, we see almost the entire palette of Russian townspeople of the nineteenth century.
However, the novel shows not only the relationship between different generations, but also the friction of various strata of society. Bolkonsky, for example, brings up children as part of the service to the Fatherland. He puts honor and benefit for other people above all else. Andrey and Maria grow up like that. However, the old prince often went too far in his upbringing, about which he laments on his deathbed.
Kuragins are shown as the complete opposite of Bolkonsky. These are careerists who put their social position above all else. Their example illustrates the cold attitude of parents towards children. The lack of sensuality and trust becomes natural for Helen and Anatole.
In fact, Tolstoy shows with the help of empty people who are only interested in material values and outward brilliance.
The Rostovs are the complete opposite. Here the parents fully support Nikolai and Natasha. Children can always turn to them for help when they need it. This clan is completely different from the aristocratic Bolkonskys and from the careerists Kuragins.
Thus, in the first two works mentioned by us, the problem of intergenerational relationships is most fully disclosed. An essay (USE) would be best written based on these novels.
Paustovsky, "Telegram"
When discussing the problem of relationships between generations, arguments "from life" will be the best. The story will touch the most painful strings of the human soul. It highlights the situation when children forget their parents.
This is the second extreme that a family can fall into. Often the cause is not so much as the harmful moments of social influence.
Sometimes unprepared for the aggression of the real world, teenagers fall into the whirlpool of other people's goals. They live by the ideals of other people and lose themselves. If the parents failed to accustom the child from childhood to the fact that they will be accepted at home in any condition, then the young man will move away.
Thus, we face a multifaceted problem of relationships between generations. Arguments in favor of proper education and others can be given, but it is better to show the terrible consequences of a deepening abyss.
We see such examples in the works of many writers. In Telegram, in particular, my daughter was late. When the girl came to her senses and came to visit her mother in the village, she found only a grave mound and a simple tombstone.
Paustovsky shows that pride, hidden malice and other barriers that prevent warm relations between relatives always lead to the tragedy of the “offended”. Therefore, the best way to solve the problem of relationships between generations will be forgiveness and a sincere desire to understand the interlocutor.
Gogol, "Taras Bulba"
The problem of relations between generations in Russian literature is quite acute in Gogol's work. He addresses the unexpected and terrible side of the realization of this moment.
The story illustrates the murder of the father of his child for the sake of his own sense of honor and pride. Taras Bulba could not forgive and survive Andrei's betrayal of ideals. He takes revenge on him for the fact that the young man did not grow up as he was brought up.
On the other hand, he punishes the Poles for the death of their youngest son, Ostap.
Thus, in this work we see the bitter truth of reality. Fathers rarely seek to understand their children. They just want to realize their concept of "ideal life" in them.
That is why the problem of intergenerational relationships is an eternal problem. You will find the arguments of Russian writers in favor of the impossibility of solving it in our article. Next, we will look at different areas of this issue.
But after reading most of the works and studies, the impression remains that along with age, the ideals of house building wake up in people at the gene level.
Eldest Son - play and film
We are now discussing the problem of intergenerational relationships (the USE often includes it in the list of tasks). Let's look at Vampilov's comedy "The Elder Son". It was written in the late sixties of the twentieth century.
The significance of the work is that several generations are intertwined here. We see relationships between three: fathers, adults, and younger children.
The essence of the comedy lies in an innocent joke that has grown into a significant stage in the life of the whole family. Two friends (Busygin and Silva) stay up late in a strange city, they are late for transport. They are looking for lodging for the night.
In the city they meet with the Sarafanov family. Silva tells their new acquaintance that Busygin is his son. The man takes the message at face value because he "had a sin of youth".
The essence of the work lies in the fact that Busygin has to become a link between the father and the children, who do not put their parent in anything.
We see already quite mature "younger" Vasenka, who, out of jealousy, burns down Natalya's house. Nina, the named sister of Busygin, wants to run away with her fiancé to the Far East, but her new brother keeps her.
Obeying the impulse of feelings, the deceiver confesses everything. Everything in the story ends well. But the main focus is still set. The situation is created in a comic form for convenient perception and a comfortable introduction to the comedy "family friend".
It is through the prism of a third-party view of the family that the problem of intergenerational relationships is revealed. Vampilov's writing is fundamentally different from similar works of the nineteenth and eighteenth centuries. It is here that we see the picture that exists in our time.
House building traditions have actually become obsolete, but the gentleness and thoughtless love of many parents plays a cruel joke on them when the children grow up.
Griboyedov and Fonvizin
The problem of relationships between generations in "Woe from Wit" is revealed on the example of Famusov and Chatsky. Let's take a closer look at these symbolic images.
The old generation is characterized by the worship of rank, wealth and position in society. It is afraid, does not understand and hates new trends. Famusov is stuck in the petty-bourgeois worldview of the last century. His only desire is to find a son-in-law for his daughter with ranks and stars on his chest.
Chatsky is the exact opposite of Pavel Afanasyevich. He not only denounces the domostroy foundations of the past in words, but also shows with his whole behavior the depravity of the old and the power of the new worldview.
Molchalin is a peer of Chatsky, but contrasts with him in thoughts, goals and behavior. He is pragmatic, two-faced and hypocritical. Above all for him - a warm and money place. That is why the young man pleases Famusov in everything, is quiet and modest with Sophia.
There is drama in Chatsky's personal life. The beloved girl calls him crazy and pushes him away, preferring "a serviceman with a rank." But, despite this, the result of the comedy is shown to readers openly. It is the "carbonari" and rebels who will replace the traditional ceremonial worship and mossiness of the old nobles.
The Undergrowth also highlights the problem of intergenerational relationships. The essay is an amazing decoding of the proverb: "The apple does not fall far from the apple tree." Here we see a separate aspect of the relationship between parents and children. Education, which is designed not to help the child find himself in life and realize himself, but to reflect the mother's outdated picture of the world.
So, in the comedy "Undergrowth" we see the result that Mrs. Prostakova received. She did her best to protect the child from the "hated" world and corrupted society. Teachers were hired to him only because Peter the Great “bequeathed” so. And the teachers at Mitrofanushka were not distinguished by scholarship.
The comedy is written in the vein of classicism, so all the names in it speak. Teachers Tsifirkin, Kuteikin, Vralman. Son Mitrofan, which in Greek means "like a mother", and Prostakova herself.
We see the disappointing results of blindly following dead dogmas without the slightest attempt to comprehend them.
Starodum, Pravdin and some other characters oppose the old traditions. They reflect the desire of the new society to see a soul in a person, and not an empty gilded shell.
As a result of the conflict, we get a completely merciless, greedy and stupid "undergrowth". "I don't want to study, but I want to get married" - this is the most accurate reflection of its essence.
Coverage of the problem in the works of Pushkin
One of the eternal moral questions is the problem of relationships between generations. Arguments from the life of modern society rarely fully correspond to literary images. The closest situation is mentioned in the Elder Son, which we talked about earlier.
The writings of the classics of the nineteenth century are often useful to young people only in a global sense. The general ethical and moral topics that are touched upon in them will be relevant for more than one century.
The problems of relationships between generations in Pushkin's works are covered many times. Examples include the following: "The Captain's Daughter", "The Stationmaster", "Boris Godunov", "The Miserly Knight" and some others.
Alexander Sergeevich, most likely, did not set himself the goal of reflecting this particular conflict, like Tolstoy and Turgenev. The clash of generations has been part of everyday life since the time of primitive people. It's just that over time, the gap between parents and children is getting bigger. This is influenced by progress, changes in social values, globalization and many other factors.
In particular, in the "Station Master" the situation is similar to the one that Paustovsky later covered (we talked about this above). Here, Samson's daughter Vyrin escapes from her father's house with a hussar. She falls into urban society, becomes a rich and respectable lady.
When her father finds her, he does not recognize and does not want to accept the new image of his daughter. Samson returns to the station, where he becomes an inveterate drunkard and dies. Here the conflict is formed due to the different meanings that the characters put into the concept of "happiness".
In The Captain's Daughter, we see a completely different picture. Here Peter Grinev tightly remembered the traditional teachings of his father. Following these rules helped him save face and honor in difficult situations.
The old baron in The Miserly Knight loses his own son because he is committed to the old philistine ways. He does not want to change the ossified worldview, feudal views. In this essay, we see too big a gulf between father and son. The result is a final rupture of ties.
Ostrovsky, "Thunderstorm"
As you have already seen, if the problem of intergenerational relationships is to be touched upon in the essay, arguments (literary, life and others) will easily help to do this.
At the end of our article, we give one more example, which is the best fit for the task. Now we will talk about Ostrovsky's drama "Thunderstorm".
This amazing work very clearly shows the clash of the old Domostroevsky and Of all the characters, only the main character, Katerina, decides to resist the ossified tyranny of the elders.
There is a saying that Russia is a country of facades. It is in this play that this phrase is deciphered in frightening nakedness. Behind the apparent prosperity and piety of an ordinary Volga town, we discover the true evil hidden in the souls of people.
The problem lies not only in the cruelty, stupidity and hypocrisy of the older generation. Kabanikha, Wild tyrannize youth only when society does not see them. By such actions, they are just trying to "set the true path" of their unlucky children. However, the difficulty is that all the knowledge and traditions inherent in house building have long turned from norms of behavior into an unnecessary burden.
The reverse side of this issue is the lack of will, weakness and bestial humility of the younger ones, as well as the indifference of the rest of the townspeople to what is happening before their eyes.
The problems of relationships between generations in the drama are shown in parallel with the impending storm. Just as nature seeks to free itself from what has been accumulated, sending life-giving rain on petrified soil, so Katerina's suicide makes the indifferent souls of people tremble.
Thus, we have examined the relationship of generations on examples from life, the origins and manifestations of this problem. In addition, we got acquainted with the works of many Russian writers who accurately, sharply and frighteningly truthfully shed light on this issue.
Good luck, dear readers! Try to find the strength in yourself to be better, so as not to become boars, simpletons and other house builders.
The problem of "fathers and children" in the work of modern writers
Pankova E.S., teacher, secondary school №941
The nineteenth, and then the twentieth century, taught many people to think about the inevitability of the problem of "fathers and sons." The tragic misunderstanding of each other by representatives of two generations, the inability and impossibility of maintaining unanimity and the spiritual union of the “current century” and the “past century” seriously worried the writers of the twentieth century.
Today, N. Dubov’s story, written back in 1966, “ Fugitive ". The main character, Yurka Nechaev, is a modest boy who lives by the sea. He grows up in a family of heavily drinking parents, road workers. For his 13 years, he got used to insults, got used to the eternal abuse of his parents, to the criticism of the teacher. He knows no other way of life. But somewhere in his soul, there was a glimmer of the consciousness that he needed to live somehow differently, not like his parents. A new trend in his life was introduced by a casual acquaintance. This man was the architect Vitaly Sergeevich, who came to relax by the sea. At first attracted to Vitaly Sergeevich by the outer side of his enviable existence - he has a Volga car, and a beautiful tent, and a sweet and mysterious life in Moscow - Yurka gradually begins to notice something deep.
Previously, Yurka wanted to be like his father. No, not in everything. The father, when he drinks, begins to find fault with everyone, swear and fight. But when he's sober, he's the best. With the arrival of Vitaly Sergeevich, everything began to change imperceptibly. I really liked Yurka's benevolence, sincerity, warm relations between new acquaintances. “And dad and mom swear every now and then, especially when they drink, and then he beats her.” Next to Vitaly Sergeevich and Yulia Ivanovna, the boy began to think about why he lives this way and not otherwise. The author's attention is constantly directed to the thoughts, doubts, experiences of the young hero, as a result of which the boy comes to the conclusion that he is no worse than others, that he can fix everything.
But fate presents Yurka with cruel tests, which he withstands with honor. Suddenly Vitaly Sergeevich dies, and in the tragic hours the boy is faced with shortcomings, vile deeds of adults: the theft of his father, the heartlessness of his mother. He angrily tells his parents the truth about them, knowing that he will be beaten for it.
After the massacre of his father, Yurka runs away from home. He wanders, starves, picks up someone's leftovers, tries to earn money by helping people, but he is driven from everywhere. But not once in the mind of the starving boy did the thought of theft arise! A chance meeting with a familiar driver saves Yurka, a normal human life awaits the boy. But suddenly he learns about a new misfortune: his father went blind from constant drunkenness. And Yurka understands that all the hardships of life will now fall on the shoulders of the mother, and sisters and brothers will grow like weeds, without a guardian. And Yurka stays, realizing like a man that he is needed here, that his mother cannot cope alone. The boy, who was recently about to leave his father's house and his father, a drunkard and a bully, felt compassion for him and filial responsibility for his life and the life of his family.
N. Dubov, showing the inner world of a teenager, his moral formation, leads us to the idea that very often children show compassion and sensitivity towards adults who do not always know how to set a worthy example for them.
N. Dubov's story "The Fugitive" in the process of its study, comprehension and analysis (grades 7-9) finds a lively response from schoolchildren. At the final stage of work on the work, you can offer them to answer such problematic questions:
- What do you think is the relevance of N. Dubov's story "The Fugitive"?
- Many years ago, a young reader wrote to N. Dubov: “Do you know why I fell in love with you? For the fact that you respect children. Do you agree with this opinion? Justify your answer.
- How do you assess the act of Yurka, who extended a helping hand to his blind father? Why does he forget insults and humiliations and stay at home? What would you do?
- What, in your opinion, is the educational value of N. Dubov's story "The Fugitive"?
In answering these questions, students indicate which
difficult problems have to be solved by Yurka, they understand the main character and sympathize with him, because many themselves have more than once experienced a sense of resentment towards adults. The ability to forgive, which the main character is endowed with, causes respect among students. They consider the boy's act noble, courageous. Many guys, if they were in a similar situation, said they would have done the same. This proves that the story helps to educate the younger generation in compassion, the ability to forgive and be responsible for their loved ones.
In the story of V. Tendryakov"Pay" (1979) , as in the novel by I.S. Turgenev "Fathers and Sons", the problem of the relationship between two generations - parents and children is raised.
In the center of the story is the tragic fate of Kolya Koryakin. We see in front of us a tall, thin teenager with a "stretched neck, a sharp chin, a pale, indistinct grimace." He is not even sixteen, and he is already a murderer - the murderer of his own father ...
But not a single Kolya is to blame for this tragedy. The adults who surrounded the boy did not prevent trouble, they only thought about their own problems. None of them tried to look into the soul of a growing child. No one understood what was most difficult for him in this difficult situation. First of all, of course, Kolya's father, Rafail Koryakin, is to blame. With his wild, drunken, cruel life, he daily provoked his son to commit a crime. The question arises: “Was Raphael always like this? What made him so hardened to the whole world?” The roots of this tragedy are much deeper. Raphael's mother Evdokia gave birth to a son very young, almost a girl. “I conceived in disgrace. She nursed in sorrows, ”she often recalled. In a conversation with investigator Sulimov, Evdokia admitted that she “disliked her child even in the womb.” And Raphael felt unloved all his life, useless to anyone, even his own mother. He did not learn to love, he even hated himself. So he started drinking. Daily mocking his wife and son, he mocked himself. In this regard, we should recall the words of the Russian thinker V.V. Rozanov, who accurately explained this tragic pattern:“The suffering of children, apparently so incompatible with the action of higher justice, can be somewhat understood with a more rigorous look atoriginal sin... The innocence of children and, consequently, their innocence is only an apparent phenomenon. Hidden in themthe depravity of the fathersand with it their guilt. It just does not manifest itself, does not manifest itself in any destructive acts ... But old wine how much she did not receive retribution, they already have . This retribution they receive in their suffering.
The blame is not removed from Kolya's mother - a quiet, weak, long-suffering woman. For the sake of her son, she had to gather all her inner strength and will in order to divorce her cruel husband and enable the boy to grow up in a normal family environment. A calm childhood of a child is the first duty of a mother. Didn't she understand that the growing son would no longer be able to endure the bullying of his father and, sooner or later, would rush to protect his mother?
In a prison cell, Kolka suddenly realizes that he loved his father, and cannot find salvation from pity for him. He recalls all the good, bright, pure things that happened in their life with their father, and executes himself with such an execution, which was and is not more terrible: endure, and the child even more so ... "
V. Tendryakov leads us, readers, to the idea that adults are always responsible for the actions of their children. Living with sin in their souls, parents do not understand that this will be retribution ... crippled destinies of their children.
In the story of Valentin Rasputin"Deadline"(1970) the problem of "fathers and children" is considered by the writer in the context of such concepts as memory, clan, family, home, mother, which should be fundamental, spiritually shaping for every person.
In the center of the story is the image of the old woman Anna, who is on the verge of death. Her children gather at the bedside of a dying mother, those for whom she lived, to whom she gave her heart, her love. Anna raised five children, she buried five more, and three died in the war. All her life she knew only one thing: "... children who need to be fed, watered, washed, prepared ahead of time, so that what was to drink, feed them tomorrow."
Old Anna is the house, its essence, its soul, its hearth. All her life she lived in caring for the House, for harmony and harmony in the family. She often said to her children: “I will die, but you still have to live and live. And you will see each other, visit each other. Raise not strangers, from one father-mother. Just visit more often, don't forget your brother, sister, brother's sister. And come and visit here too, here is our whole family ... "
V. G. Belinsky also wrote: “There is nothing holier and more disinterested than the love of a mother; every affection, every love, every passion is either weak or selfish in comparison with her!.. Her highest happiness is to see you near her, and she sends you to where, in her opinion, you are more cheerful; for your benefit, your happiness, she is ready to decide on a permanent separation from you.So Anna resigned herself to separation: her children parted, arranged their lives as they wanted, and ... forgot about the old woman - mother. “When you need potatoes or something else,” only Varvara comes, and the rest - “as if they don’t exist in the world.”
The children who arrived by telegram from brother Mikhail give their mother an unexpectedly unexpected deadline: the joy is such that the mother, as it were, changed her mind about dying. Are the children happy to have moments of communication with their mother, who has been seen so rarely in recent years and whom they will never see again? Do they understand that Anna's seeming recovery is only the "last push", the last breath of life before the inevitable end? With horror and indignation, we see that these days are a burden to them, that all of them - Lyusya, Varvara, Ilya - are waiting for the death of their mother. They wait, repeating several times whether she is alive, and annoyed by the fact that she is still alive. For them, the days of the last meeting with Anna are just wasted time.
Preoccupation with everyday life, worldly vanity have so hardened and devastated their souls that they are not able to realize, to feel everything that happens to their mother. The tension that fettered everyone for the first minutes of being next to the sick Anna gradually subsides. The solemnity of the moment is violated, conversations become free - about earnings, about mushrooms, about vodka. Seeing that the mother has got out of bed, the children feel that they have come in vain and are going to go home. They do not even hide their irritation and annoyance at the fact that they had to waste time. It is bitter to realize this unfortunate mother. She peers into the faces of the children and does not want, cannot accept the changes that have happened to them.
Favorite Tatyana did not come at all to say goodbye to her mother. And although Anna understands that it is useless to wait for the arrival of her daughter, her heart refuses to accept this. That is why she so easily believes the “salvation lie” of Mikhail, who says that he himself wrote to his sister, as if her mother felt better and there was no need to come.
Anna is aware of her uselessness to children, and the only thing she wants now is to die as soon as possible. To die in order to free her children from the painful need to stay close to her - even in the last minutes she thinks about how not to cause them inconvenience, not to be a burden for them.
Anna's amazing conscience, honesty, wisdom, patience, her thirst for life, her all-consuming love for children contrasts so much with the callousness, coldness, indifference, spiritual emptiness and even cruelty of her children that the desperate words of the mother, begging her relatives not to to leave, to stay at least for a little: “I will die, I will die. Here you will see. Sedna. Wait dude. I tell you that I will die, and I will die.” But even this cry of the soul is not capable of touching the hearts of children. Without waiting for the death of their mother, they go home.
With the departure of the children, the last threads connecting Anna with life are broken. Now nothing holds her, she has no reason to live, the fire in her heart, which warmed and illuminated her days, went out. She died that same night. “The children kept her in this world. The children are gone, the life is gone.”
The death of a mother becomes a test for adult children. A test they didn't pass.
In the story "Deadline" V. Rasputin not only told us about the fate of the old mother, about her hard life. He did not just show the full breadth of her great soul. And he didn’t just paint a picture of the relationship between “fathers” and “children” that is frightening in its truthfulness and relevance. The writer revealed the full depth of the problem of generational change, reflected the eternal cycle of life, reminded us that, betraying our loved ones, refusing the ideals of goodness bequeathed to us by our ancestors, we, first of all, betray ourselves, our children, brought up on the example of moral degeneration. V. Rasputin warned us with anxiety: “It is impossible to live and work without the memory of one's people, one's family, one's family. Otherwise, we will be so divided, we will feel lonely, that this can destroy us.
The remarkable Russian philosopher I.A. Ilyin also discussed the mysterious connection of a person with the forces that are revealed to him in the bowels of his family and clan. According to him, a sense of one's own spiritual dignity, the core of healthy citizenship and patriotism are born"from the spirit of the family and clan, from the spiritually and religiously meaningful perception of their parents and ancestors."On the contrary, contempt for the past and roots “generates in a person a rootless, fatherless, slavish psychology… The family is the fundamental foundation of the Motherland.”
This idea was brilliantly expressed by A.S. Pushkin:
Two feelings are wonderfully close to us -
In them the heart finds food -
Love for native land
Love for father's coffins.
Based on them from the century
By the will of God Himself
Man's self-sufficiency
The pledge of his greatness.
The current life has brought new colors to the eternal problem of "fathers and sons": FATHERLESS in the literal and figurative sense. This is the subject of the documentary story of the modern writer Viktor Nikolaev"Fatherless » (2008). The heroes of his book are children with distorted lives, for whom the street is their mother, the basement is their father. We are talking about boys and girls who, by an evil irony of fate, ended up behind bars. And each child in this book has his own truth, which adults taught him. Many of them only learned in prison what clean linen and a bed are, only after falling behind barbed wire, they learned to eat with a spoon and fork. Some guys turn around in surprise when they call their last name and first name - they are used to nicknames, most cannot read or write.
The terrible stories of children in prison are not easy to read, it was also hard for the author to visit prisons, talk with teenagers, listen to the stories that these souls growing behind barbed wire carry in themselves. Most of the children are orphans who, in their short lives, have seen so much bad that an ordinary middle-aged person would not even dream of. These children are our reality, these are drinking neighbors who mutilate their children, these are the children of deceased relatives whom we place in orphanages, these are refuseniks - babies in maternity hospitals, this is fatherlessness with living parents ...
The destinies of the guys pass in front of us in succession. Petka, who was left without parents, but lived with his grandfather and grandmother, was sent by zealous social workers to an orphanage, from where he escaped. And then the street, the company, theft. A similar fate for Valerka, who was left to himself - the drinking mother did not have time for her son. At the age of ten, he commits a robbery attack on a drunken neighbor. Next - the orphanage, escape, theft.
Stories about the fate of children are interspersed with genuine letters from teenagers who have broken the law. Children, once in the colony, gradually begin to realize their guilt, their sins. One teenager in his letter tells how his mother's cross saved him from suicide. Another writes that the temple that stands in their zone helps a lot, that the Divine Liturgy should be held every day. Only in this way, according to him, you can at least partially cleanse your soul.
Where is the reason for the crimes of teenagers, immorality and licentiousness that reigns in society in our time? V. Nikolaev gives his answer to this difficult question. He believes that these are not the consequences of yesterday, not the forties - the nineties. The root of this is much deeper - in the rejection of God, God the Father. And the name of what is happening is Fatherless. And one cannot but agree with the author. Indeed, even in past centuries, when all Russian people lived by faith in God and introduced their children to it, the whole family lived as a single whole. Honoring parents stood on the same level as honoring God, since it is the Lord who commands to honor parents. In the ten commandments given by God through the prophet Moses, we see that the fifth commandment sounds like this:“Honor your father and your mother, that your days on earth may be long…”Both children and parents lived one thing - the fulfillment of God's Law. Now, when few families are built on a single spiritual principle, on the faith of God, we must again turn to the origins. In order not to become “Ivans who do not remember kinship”, you need to try with all your might to restore peace and understanding in the family, learn to forgive. After all, people are closer than parents and children, no.
The famous Russian philosopher I.A. Ilyin said: “It is the family that gives a person two sacred prototypes, which he carries in himself all his life, and in a living relation to which his soul grows and his spirit strengthens: the prototype of a pure mother, bringing love, mercy and protection; and the prototype of a good father, who gives food, justice and understanding. Woe to the man who has no place in his soul for these constructive and leading archetypes, these living symbols and at the same time creative sources of spiritual love and spiritual faith.!»
The problem of "fathers and children" worried and will always worry. Therefore, neither the classics of Russian literature, nor modern writers could get around it in their works. Somewhere this question was asked casually, in some works it became “central”. For example, I. S. Turgenev considered the problem of “fathers and children” so important that he gave the same name to his novel. Thanks to this work, he became famous throughout the world. On the other hand, the comedy "Woe from Wit". It seems that the question that interests us is not the main one for Griboyedov. But the problem of "fathers and children" is precisely the problem of worldviews, relations between the "current century" and the "past century". What about A Hero of Our Time or Crime and Punishment? In these works, one way or another, the authors deal with the problem of generations. In the novel "War and Peace" family relationships are almost the main theme of the writer's thoughts.
In my essay, I will try to consider the conflict of “fathers and children” from different points of view: how the writers understood it and how topical this issue is now.
To begin with, let's define what is meant by the problem of "fathers and children". For some, this is a problem at the everyday level: how parents and children can find mutual understanding with each other. For others, it is a broader issue: the problem of worldviews and generations that arises in people who are not necessarily related by blood ties. They clash because they have a different attitude to life, they look at the world differently.
An example of this is the novel by I. S. Turgenev “Fathers and Sons”. The author in his work opposes to each other not a son and a father, but simply people of different generations. The conflict between Pavel Petrovich Kirsanov and Yevgeny Bazarov is not due to quarrels at the everyday level, it is not even a conflict of generations - it is much deeper. At the heart of his difference in views on life, on the social structure of the world.
The beginning of the dispute was the fact that in the peaceful life of Pavel Petrovich, where no one contradicted him, the wind of change blew. "His aristocratic nature was outraged by Bazarov's perfect swagger." Pavel Petrovich's life was based on a quiet, peaceful way of life, centuries-old traditions. Naturally, Bazarov, with his nihilistic inclinations, arouses indignation in him. Bazarov's principle is that everything needs to be destroyed, "to clear the place." And after all, this repels not only Pavel Petrovich from him, but also everyone who comes into contact with Yevgeny. Very few can decide to break with their past in one fell swoop. Therefore, Bazarov is alone: someone does not accept his position, he removes someone from himself, for example, his parents. After all, there is also a conflict between "fathers and children." Parents see in their child only good, bright, they cannot turn away from him. And this is the position of all "fathers". Bazarov repels them. Seeing with what carelessness he announces to his parents about his imminent death, it can be argued that he is even indifferent to them. By this, Turgenev wants to show that a person will not find peace in his soul if he turns away from everyone, especially from his parents.
The conflict of generations is presented differently in the comedy by A. S. Griboyedov “Woe from Wit”. At the heart of this conflict is a dispute between Chatsky and Famusov - representatives of different eras, different generations. Chatsky's position in relation to the Famusov society: "What is older is worse." But the line between generations in this work is quite developed, the main idea of the comedy is a conflict of worldviews. After all, Molchalin, Sofya, and Chatsky belong to the same era, “the current century,” but in their views, Molchalin and Sofya are members of the Famus society, and Chatsky is a representative of new trends. In his opinion, only a new mind is "hungry for knowledge" and inclined "to the creative arts." As before, the "fathers" uphold the age-old foundations, are opponents of progress, and the "children" are thirsty for knowledge, striving to find new ways for the development of society.
After analyzing these two works, we can say that the writers use the conflict of "fathers and sons" both to analyze the problem itself and as a tool for revealing the inner world of the characters, their thinking, outlook on life.
In the novel "War and Peace" "family thought" is also subjected to careful analysis by the writer. In his work, Leo Tolstoy describes three families: the Rostovs, the Bolkonskys, and the Kuragins. These three clans, although they differ little in origin and position in society, have their own family traditions, approaches to education, have different
new priorities. With the help of these details, the author shows how individual and different such heroes as Nikolai and Natasha Rostov, Andrei and Marya Bolkonsky, Anatole and Helen Kuragin are.
Considering the Rostov family, one cannot fail to notice the warmth and tenderness in their relationship. Parents for Natasha and Nikolai are a reliable support, their home, indeed, is their father's. They strive there as soon as problems arise, because they know that their parents will support them, and if necessary, they will help them out. In my opinion, this type of family is ideal, but, unfortunately, the ideal is rarely found in life.
The Kuragin clan is strikingly different from the Rostovs. The goal of these people is to get better. But what else can Helen and Anatole dream of if they were taught this from childhood, if their parents preach the same principles, if the basis of their family relations is coldness and stiffness? Obviously, parents are the reason for this attitude to life, and this is now not uncommon. Often parents are too busy with themselves to pay attention to the problems of their children, and this gives rise to conflicts, the causes of which adults often do not understand.
The basis of relationships in the Bolkonsky family is respect and respect for elders. Nikolai Andreevich is an unquestioning authority for his children, and although they do not experience pressure from their father, neither Andrei nor Marya lose their individuality. They have their own life priorities and more or less purposefully try to stick to them. Such people in any society deserve respect and strive to justify it.
Without the slightest doubt, we can say that JI. N. Tolstoy was an excellent psychologist if he could so subtly feel the connection between the characters of the characters and their social status, determine the role of the family in a person’s life and illustrate the conflict of generations so vividly.
Thus, the problem of "fathers and children" is considered by many writers as a conflict situation. But it cannot be analyzed otherwise, because there are always disagreements between “fathers” and “children”, the reasons for which can be completely different, but their essence is the same - misunderstanding. But it can be avoided if you are at least a little more tolerant of each other, be able to listen to another person, especially if it is your child, and, first of all, be able to respect his opinion. Only under these conditions will we be able to reach mutual understanding and reduce the problem of "fathers and children" to a minimum.
Problem fathers and children in Russian literature. People at all times were worried about the eternal problems of being: the problems of life and death, love and marriage, choosing the right path ... Everything changes in this world, and only universal human moral needs remain unchanged regardless of what time is "in the yard".
The problem of fathers and children (conflict and continuity of generations) has always existed, and at present it remains relevant.
Naturally, this theme was reflected in many works of Russian classical literature: in the comedy "Undergrowth" by Fonvizin, in "Woe from Wit" by Griboyedov, in the story "The Stationmaster", in "The Miserly Knight", in the tragedy "Boris Godunov" by Pushkin , in the novel "Fathers and Sons" by Turgenev.
“An apple doesn’t fall far from an apple tree,” says an old Russian proverb. Indeed, each subsequent generation inherits from the previous one not only material values, but also the basic worldview and life principles. When the principles developed by the "past century" are not accepted by the "present century", a generational conflict arises. This conflict does not always have an age character. Sometimes it even happens that representatives of two different generations look at life the same way. Let's remember Famusov. How he admires his uncle Maxim Petrovich! He fully shares his views, seeks to imitate him and constantly sets an example for young people, in particular Chatsky:
And uncle! What is your prince? what is Count?
Serious look, haughty disposition.
When do you need to serve?
And he leaned over...
Shares the views of the older generation and Sophia. Isn't her attitude towards Chatsky an indicator? Let us recall how Famusov reacts to his speeches denouncing the worthlessness, vulgarity and ignorance of secular society: “Ah! My God! he is a Carbonari!… A dangerous man!” Sophia has a similar reaction: "Not a man - a snake." It is quite understandable why she preferred Molchalin, "wordless" and quiet, to Chatsky, who "gloriously knows how to make everyone laugh." “Husband-boy, husband-servant” is an ideal life partner for secular ladies: for Natalya Dmitrievna Gorich, and for Princess Tugoukhovskaya, and for Countess-granddaughter, and for Tatyana Yurievna, and for Marya Aleksevna ... And Molchalin is perfect for this role, the role of the impeccable husband:
Molchalin is ready to forget himself for others,
The enemy of insolence - always shyly, timidly
A whole night with whom you can spend like this! ..
He takes his hand, shakes his heart,
Breathe from the depths of your soul
Not a free word, and so the whole night passes,
Hand with hand, and his eyes do not take his eyes off me ...
I must say that Molchalin also shares the views of the older generation, which helped him a lot in life. Keeping to the father's command
First, to please all people without exception -
The owner, where he happens to live,
The boss with whom I will serve,
To his servant who cleans the dress,
Doorman, janitor to avoid evil,
The janitor's dog, so that it was affectionate,
he achieved the rank of assessor, and became a secretary with the Moscow "ace" Famusov, he is loved by a secular young lady. As a result, he became an indispensable visitor to all kinds of balls and receptions:
There the pug will stroke in time,
Here it is just right to insert a card.
He achieved "known degrees", following his father's advice, and another, no less popular hero - Chichikov from Gogol's "Dead Souls". “Please the teachers and bosses,” his father punished him. And what we see: Chichikov graduated from college with good grades, as he constantly flattered and groveled in front of his teacher, achieved a promotion by caring for the boss's daughter. And the father’s instruction “take care and save a penny” became for Pavel Ivanovich the main rule of life.
People from their parents, I must say, inherit not only bad, but also good. Let's remember Pyotr Grinev. His family had high ideas of honor and duty, so his father attached such great importance to the words: "Take care of honor from a young age." And as we can see, for Grinev, honor and duty are above all. He does not agree to swear allegiance to Pugachev, does not make any compromises with him (refuses to make a promise that he will not fight against the rebels), preferring death to the slightest deviation from the dictates of conscience and duty.
The conflict between generations has two sides: moral and social. The social conflicts of their time were shown by Griboyedov in Woe from Wit and Turgenev in Fathers and Sons. The “past century” does not want to recognize the “current century”, does not want to give up its positions, standing in the way of everything new, in the way of social transformations. The conflicts between Chatsky and Famusov, Bazarov and Pavel Petrovich are not only moral, but also social in nature.
And one feature of these clashes should be noted: the younger generation differs from the old one in its patriotic views. This is clearly expressed in the accusatory monologues of Chatsky, who is full of contempt for the "foreign power of fashion":
I odal sent up desires humble, but out loud,
So that the Lord destroyed this unclean spirit
Empty, slave, blind imitation,
So that he would plant a spark in someone with a soul,
Who could by word and example
Hold us like a strong rein,
From pathetic nausea on the side of a stranger.
Bazarov, like Chatsky, also acts as a representative of progressive thinking youth. He accuses the "past century" of servility to everything foreign, of contempt for the Russian. In the person of Pavel Petrovich, I. S. Turgenev portrayed a liberal by conviction with the features of a serf. He despises the common people: speaking to the peasants, he "grimaces and sniffs cologne". In the epilogue to Fathers and Sons, we see Kirsanov living abroad. On the table he has an "ashtray in the form of a peasant's bast shoes" - this is all that connects him with Russia.
Serfdom, conservatism of views, fear of everything new, indifference to the fate of Russia - these are the main subjects of disputes between fathers and children, examples of which are given to us by Russian literature.
The moral side of the conflict is more tragic in nature than the social one, because the soul of a person, his feelings are hurt.
Very often, when children grow up and begin to live an independent life, they pay less and less attention to their parents, more and more moving away from them.
In Pushkin's story "The Stationmaster", the daughter of the protagonist Dunya fled to St. Petersburg with a passing hussar. Her father was very worried about her, for her future. In his own way, he wished Dunya happiness. In this case, the conflict between father and daughter lies in a different understanding of happiness.
Money, as you know, has a detrimental effect on the human soul. Under their influence, relationships between people, even between relatives, change. Thirst for money, desire for profit, stinginess and constant fears for one's capital - all this causes the impoverishment of the human soul and the loss of the most important qualities: conscience, honor, love. This leads to misunderstanding in the family, to the fragility of family ties. This was perfectly shown by Pushkin in The Miserly Knight: money separated the old baron and his son, stood in the way of their rapprochement, breaking the hope for mutual understanding and love.
So, as we can see, the problem of fathers and children was most fully reflected in Russian classical literature, many writers turned to it, considering it one of the topical problems of their contemporary era. But these works are popular and relevant in our time, which indicates that the problem of relationships between generations belongs to the eternal problems of being.
The problem of "fathers and sons" in creativitycontemporary writers
Pankova E.S.,teacherGBOU secondary school №941
The nineteenth, and then the twentieth century, taught many people to think about the inevitability of the problem of "fathers and sons." The tragic misunderstanding of each other by representatives of two generations, the inability and impossibility of maintaining unanimity and the spiritual union of the “current century” and the “past century” seriously worried the writers of the twentieth century.
Today, N. Dubov’s story, written back in 1966, “ Fugitive". The main character, Yurka Nechaev, is a modest boy who lives by the sea. He grows up in a family of heavily drinking parents, road workers. For his 13 years, he got used to insults, got used to the eternal abuse of his parents, to the criticism of the teacher. He knows no other way of life. But somewhere in his soul, there was a glimmer of the consciousness that he needed to live somehow differently, not like his parents. A new trend in his life was introduced by a casual acquaintance. This man was the architect Vitaly Sergeevich, who came to relax by the sea. At first attracted to Vitaly Sergeevich by the outer side of his enviable existence - he has a Volga car, and a beautiful tent, and a sweet and mysterious life in Moscow - Yurka gradually begins to notice something deep.
Previously, Yurka wanted to be like his father. No, not in everything. The father, when he drinks, begins to find fault with everyone, swear and fight. But when he's sober, he's the best. With the arrival of Vitaly Sergeevich, everything began to change imperceptibly. I really liked Yurka's benevolence, sincerity, warm relations between new acquaintances. “And dad and mom swear every now and then, especially when they drink, and then he beats her.” Next to Vitaly Sergeevich and Yulia Ivanovna, the boy began to think about why he lives this way and not otherwise. The author's attention is constantly directed to the thoughts, doubts, experiences of the young hero, as a result of which the boy comes to the conclusion that he is no worse than others, that he can fix everything.
But fate presents Yurka with cruel tests, which he withstands with honor. Suddenly Vitaly Sergeevich dies, and in the tragic hours the boy is faced with shortcomings, vile deeds of adults: the theft of his father, the heartlessness of his mother. He angrily tells his parents the truth about them, knowing that he will be beaten for it.
After the massacre of his father, Yurka runs away from home. He wanders, starves, picks up someone's leftovers, tries to earn money by helping people, but he is driven from everywhere. But not once in the mind of the starving boy did the thought of theft arise! A chance meeting with a familiar driver saves Yurka, a normal human life awaits the boy. But suddenly he learns about a new misfortune: his father went blind from constant drunkenness. And Yurka understands that all the hardships of life will now fall on the shoulders of the mother, and sisters and brothers will grow like weeds, without a guardian. And Yurka stays, realizing like a man that he is needed here, that his mother cannot cope alone. The boy, who was recently about to leave his father's house and his father, a drunkard and a bully, felt compassion for him and filial responsibility for his life and the life of his family.
N. Dubov, showing the inner world of a teenager, his moral formation, leads us to the idea that very often children show compassion and sensitivity towards adults who do not always know how to set a worthy example for them.
N. Dubov's story "The Fugitive" in the process of its study, comprehension and analysis (grades 7-9) finds a lively response from schoolchildren. At the final stage of work on the work, you can offer them to answer such problematic questions:
What do you think is the relevance of N. Dubov's story "The Fugitive"?
Many years ago, a young reader wrote to N. Dubov: “Do you know why I fell in love with you? For the fact that you respect children. Do you agree with this opinion? Justify your answer.
How do you assess the act of Yurka, who extended a helping hand to his blind father? Why does he forget insults and humiliations and stay at home? What would you do?
What, in your opinion, is the educational value of N. Dubov's story "The Fugitive"?
In answering these questions, students indicate which
difficult problems have to be solved by Yurka, they understand the main character and sympathize with him, because many themselves have more than once experienced a sense of resentment towards adults. The ability to forgive, which the main character is endowed with, causes respect among students. They consider the boy's act noble, courageous. Many guys, if they were in a similar situation, said they would have done the same. This proves that the story helps to educate the younger generation in compassion, the ability to forgive and be responsible for their loved ones.
In the story of V. Tendryakov "Pay"(1979) , as in the novel by I.S. Turgenev "Fathers and Sons", the problem of the relationship between two generations - parents and children is raised.
In the center of the story is the tragic fate of Kolya Koryakin. We see in front of us a tall, thin teenager with a "stretched neck, a sharp chin, a pale, indistinct grimace." He is not even sixteen, and he is already a murderer - the murderer of his own father ...
But not a single Kolya is to blame for this tragedy. The adults who surrounded the boy did not prevent trouble, they only thought about their own problems. None of them tried to look into the soul of a growing child. Nobody understood that it was difficult her all to him in this difficult situation. First of all, of course, Kolya's father, Rafail Koryakin, is to blame. With his wild, drunken, cruel life, he daily provoked his son to commit a crime. The question arises: “Was Raphael always like this? What made him so hardened to the whole world?” The roots of this tragedy are much deeper. Raphael's mother Evdokia gave birth to a son very young, almost a girl. “I conceived in disgrace. She nursed in sorrows, ”she often recalled. In a conversation with investigator Sulimov, Evdokia admitted that she “disliked her child even in the womb.” And Raphael felt unloved all his life, useless to anyone, even his own mother. He did not learn to love, he even hated himself. So he started drinking. Daily mocking his wife and son, he mocked himself. In this regard, we should recall the words of the Russian thinker V.V. Rozanov, who accurately explained this tragic pattern: "Children's Suffering", so incompatible, apparently, with the action of higher justice, can be somewhat understood by a more rigorous look atoriginal sin…Children's PurityAnd, footprintsreally, nottheir guilt is a phenomenononly apparent. Hidden in themthe depravity of the fathersand with it their guilt. It just does not manifest itself, does not manifest itself in any destructive acts ... Butold winehow much she did not receive retribution,they already have. This retribution they receive in their suffering.
The blame is not removed from Kolya's mother - a quiet, weak, long-suffering woman. For the sake of her son, she had to gather all her inner strength and will in order to divorce her cruel husband and enable the boy to grow up in a normal family environment. A calm childhood of a child is the first duty of a mother. Didn't she understand that the growing son would no longer be able to endure the bullying of his father and, sooner or later, would rush to protect his mother?
In a prison cell, Kolka suddenly realizes that he loved his father, and cannot find salvation from pity for him. He recalls all the good, bright, pure things that happened in their life with their father, and executes himself with such an execution, which was and is not more terrible: endure, and the child even more so ... "
V. Tendryakov leads us, readers, to the idea that adults are always responsible for the actions of their children. Living with sin in their souls, parents do not understand that there will be retribution for this ... the crippled destinies of their children.
In the story of Valentin Rasputin "Deadline"(1970) the problem of "fathers and children" is considered by the writer in the context of such concepts as memory, clan, family, home, mother, which should be fundamental, spiritually shaping for every person.
In the center of the story is the image of the old woman Anna, who is on the verge of death. Her children gather at the bedside of a dying mother, those for whom she lived, to whom she gave her heart, her love. Anna raised five children, she buried five more, and three died in the war. All her life she knew only one thing: "... children who need to be fed, watered, washed, prepared ahead of time, so that what was to drink, feed them tomorrow."
Old Anna is the house, its essence, its soul, its hearth. All her life she lived in caring for the House, for harmony and harmony in the family. She often said to her children: “I will die, but you still have to live and live. And you will see each other, visit each other. Raise not strangers, from one father-mother. Just visit more often, don't forget your brother, sister, brother's sister. And come and visit here too, here is our whole family ... "
V. G. Belinsky also wrote : « Hthere is nothing holier and more disinterested than a mother's love; every affection, every love, every passion is either weak or selfish in comparison withher!.. Her highest happiness isto take you beside me, and she sends you to where, in her opinion, you have more fun; for your benefit, your happiness, she is ready to decide on a permanent separation from you. So Anna resigned herself to separation: her children parted, arranged their lives as they wanted, and ... forgot about the old woman - mother. “When you need potatoes or something else,” only Varvara comes, and the rest - “as if they don’t exist in the world.”
The children who arrived by telegram from brother Mikhail give their mother an unexpectedly unexpected deadline: the joy is such that the mother, as it were, changed her mind about dying. Are the children happy to have moments of communication with their mother, who has been seen so rarely in recent years and whom they will never see again? Do they understand that Anna's seeming recovery is only the "last push", the last breath of life before the inevitable end? With horror and indignation, we see that these days are a burden to them, that all of them - Lyusya, Varvara, Ilya - are waiting for the death of their mother. They wait, repeating several times whether she is alive, and annoyed by the fact that she is still alive. For them, the days of the last meeting with Anna are just wasted time.
Preoccupation with everyday life, worldly vanity have so hardened and devastated their souls that they are not able to realize, to feel everything that happens to their mother. The tension that fettered everyone for the first minutes of being next to the sick Anna gradually subsides. The solemnity of the moment is violated, conversations become free - about earnings, about mushrooms, about vodka. Seeing that the mother has got out of bed, the children feel that they have come in vain and are going to go home. They do not even hide their irritation and annoyance at the fact that they had to waste time. It is bitter to realize this unfortunate mother. She peers into the faces of the children and does not want, cannot accept the changes that have happened to them.
Favorite Tatyana did not come at all to say goodbye to her mother. And although Anna understands that it is useless to wait for the arrival of her daughter, her heart refuses to accept this. That is why she so easily believes the “salvation lie” of Mikhail, who says that he himself wrote to his sister, as if her mother felt better and there was no need to come.
Anna is aware of her uselessness to children, and the only thing she wants now is to die as soon as possible. To die in order to free her children from the painful need to stay close to her - even in the last minutes she thinks about how not to cause them inconvenience, not to be a burden for them.
Anna's amazing conscience, honesty, wisdom, patience, her thirst for life, her all-consuming love for children contrasts so much with the callousness, coldness, indifference, spiritual emptiness and even cruelty of her children that the desperate words of the mother, begging her relatives not to to leave, to stay at least for a little: “I will die, I will die. Here you will see. Sedna. Wait dude. I tell you that I will die, and I will die.” But even this cry of the soul is not capable of touching the hearts of children. Without waiting for the death of their mother, they go home.
With the departure of the children, the last threads connecting Anna with life are broken. Now nothing holds her, she has no reason to live, the fire in her heart, which warmed and illuminated her days, went out. She died that same night. “The children kept her in this world. The children are gone, the life is gone.”
The death of a mother becomes a test for adult children. A test they didn't pass.
In the story "Deadline" V. Rasputin not only told us about the fate of the old mother, about her hard life. He did not just show the full breadth of her great soul. And he didn’t just paint a picture of the relationship between “fathers” and “children” that is frightening in its truthfulness and relevance. The writer revealed the full depth of the problem of generational change, reflected the eternal cycle of life, reminded us that, betraying our loved ones, refusing the ideals of goodness bequeathed to us by our ancestors, we, first of all, betray ourselves, our children, brought up on the example of moral degeneration. V. Rasputin warned us with anxiety: “ It is impossible to live and work without the memory of one's people, one's family, one's family. Otherwise, we will be so divided, we will feel lonely, that this can destroy us.
The remarkable Russian philosopher I.A. Ilyin also discussed the mysterious connection of a person with the forces that are revealed to him in the bowels of his family and clan. According to him, a sense of one's own spiritual dignity, the core of healthy citizenship and patriotism are born "from the spirit of family and kind, from the spiritually and religiously meaningful perception of their parents and ancestors. On the contrary, contempt for the past and one's roots “generates in a person a rootless, fatherless, slavish psychology… The family is the fundamental foundation of the Motherland.”
This idea was brilliantly expressed by A.S. Pushkin:
Two feelings are wonderfully close to us -
In them the heart finds food -
Love for native land
Love for father's coffins.
Based on them from the century
By the will of God Himself
Man's self-sufficiency
The pledge of his greatness.
The current life has brought new colors to the eternal problem of "fathers and sons": FATHERLESS in the literal and figurative sense. This is the subject of the documentary story of the modern writer Viktor Nikolaev "Fatherless» (2008). The heroes of his book are children with distorted lives, for whom the street is their mother, the basement is their father. We are talking about boys and girls who, by an evil irony of fate, ended up behind bars. And each child in this book has his own truth, which adults taught him. Many of them only learned in prison what clean linen and a bed are, only after falling behind barbed wire, they learned to eat with a spoon and fork. Some guys turn around in surprise when they call their last name and first name - they are used to nicknames, most cannot read or write.
The terrible stories of children in prison are not easy to read, it was also hard for the author to visit prisons, talk with teenagers, listen to the stories that these souls growing behind barbed wire carry in themselves. Most of the children are orphans who, in their short lives, have seen so much bad that an ordinary middle-aged person would not even dream of. These children are our reality, these are drinking neighbors who mutilate their children, these are the children of dead relatives whom we place in orphanages, these are refuseniks - babies in maternity hospitals, this is fatherlessness with living parents ...
The destinies of the guys pass in front of us in succession. Petka, who was left without parents, but lived with his grandfather and grandmother, was sent by zealous social workers to an orphanage, from where he escaped. And then the street, the company, theft. A similar fate for Valerka, who was left to himself - the drinking mother did not have time for her son. At the age of ten, he commits a robbery attack on a drunken neighbor. Next - the orphanage, escape, theft.
Stories about the fate of children are interspersed with genuine letters from teenagers who have broken the law. Children, once in the colony, gradually begin to realize their guilt, their sins. One teenager in his letter tells how his mother's cross saved him from suicide. Another writes that the temple that stands in their zone helps a lot, that the Divine Liturgy should be held every day. Only in this way, according to him, you can at least partially cleanse your soul.
Where is the reason for the crimes of teenagers, immorality and licentiousness that reigns in society in our time? V. Nikolaev gives his answer to this difficult question. He believes that these are not the consequences of yesterday, not the forties - the nineties. The root of this is much deeper - in the rejection of God, God the Father. And the name of what is happening is Fatherless. And one cannot but agree with the author. Indeed, even in past centuries, when all Russian people lived by faith in God and introduced their children to it, the whole family lived as a single whole. Honoring parents stood on the same level as honoring God, since it is the Lord who commands to honor parents. In the ten commandments given by God through the prophet Moses, we see that the fifth commandment sounds like this: “Honor your father and your mother, that your days on earth may be long…” Both children and parents lived one thing - the fulfillment of God's Law . Now, when few families are built on a single spiritual principle, on the faith of God, we must again turn to the origins. In order not to become “Ivans who do not remember kinship”, you need to try with all your might to restore peace and understanding in the family, learn to forgive. After all, people are closer than parents and children, no.
The famous Russian philosopher I.A. Ilyin said: “It is the family that gives a person two sacred prototypes, which he carries in himself all his life, and in a living relation to which his soul grows and his spirit strengthens: the prototype of a pure mother, bringing love, mercy and protection; and nean image of the goodfromthe giver of nourishment, justice and understanding. Woe to the man who has no place in his soul for these constructive and leading archetypes, these living symbols and at the same time creative sources of spiritual love and spiritual faith.!»
